Sonic Art & Sound Design- P33 ppsx

New York: Columbia University Press Cox, C.. Audio Culture: Readings in Modern Music.. Noise, Water, Meat: A History of Sound in the Arts.. Cambridge: Cambridge University Press de Olive

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Job no : 76098 Title : The Fundamentals Of Sonic Art Client : AVA

Scn : #150 Size : 200(w)230(h)mm Co : M3 C0 (All To Spot)(Coagl)

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CONCLUSION

‘THE WORLD OF SOUND COMPOSITION HAS BEEN

HAMPERED BY BEING CAST IN THE ROLE OF A POOR

RELATION TO MORE TRADITIONAL MUSIC PRACTICE IN

PARTICULAR THE VAST BODY OF ANALYTICAL AND

CRITICAL WRITINGS IN THE MUSICOLOGY OF WESTERN

ART MUSIC IS STRONGLY ORIENTED TO THE STUDY OF

MUSICAL TEXTS (SCORES) RATHER THAN TO A

DISCIPLINE OF ACUTE AURAL AWARENESS IN ITSELF.

SOUND COMPOSITION REQUIRES THE DEVELOPMENT OF

BOTH NEW LISTENING AND AWARENESS SKILLS FOR THE COMPOSER AND, I WOULD SUGGEST, A NEW ANALYTICAL AND CRITICAL DISCIPLINE FOUNDED IN THE STUDY OF

THE SONIC EXPERIENCE ITSELF, RATHER THAN ITS

REPRESENTATION IN A TEXT THIS NEW PARADIGM IS

BEGINNING TO STRUGGLE INTO EXISTENCE AGAINST

THE IMMENSE INERTIA OF RECEIVED WISDOM ABOUT

“MUSICAL STRUCTURE”.’

TREVOR WISHART, ‘AUDIBLE DESIGN’

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AFTERWORD

Some time in 1966, my parents went out

for the day This was unusual and meant

that I was at home by myself More

significantly, it meant that I had access to

my father’s jealously guarded ‘Deccalian’

gramophone and could play my new

Beatles record at previously undreamed-of

volume Even more exciting was the

prospect of copying it on to a newly

acquired tape recorder so that I would no

longer have to depend upon such

opportunities to listen to ‘that dreadful

jungle music’, as he was wont to describe

it I duly pointed my crystal microphone

at the Deccalian’s loudspeaker, made the

ritual adjustments with the help of the

‘magic eye’ on the recorder and, in all

innocence, set the process in motion

Reaching the end, I put the needle back to

the start of the record while I rewound

the tape By chance, I restarted it part

way into the recording at almost exactly

the point that the record had reached The

two versions of Taxman played together,

slightly out of sync, creating an odd

spatial echo Leaning over to retrieve the

record sleeve, I brushed the tape reels as

they turned, momentarily slowing the

machine down

Suddenly the world lurched sideways as

the Beatles swung wildly around the space

between the two machines I had

encountered the Haas effect, one of the principles of psychoacoustics by which we perceive the origin of a sound I began to experiment with great but uninformed enthusiasm and, later that afternoon, I found a way to combine two slightly delayed recordings of the same material and so it was that I invented phasing, the dramatic ‘jet plane’ effect so popular at that time I say that I invented phasing because I had no knowledge of it before the event, any more than did the many engineers and others upon whom this honour is usually bestowed The truth is that no one really knows who discovered it first and so I’ve always felt that my claim was as valid as anyone else’s

Unsurprisingly, no one else acknowledged

my claim and even fewer were interested

Save, of course, my furious father who was convinced that I had hopelessly damaged his prized record player (I hadn’t) For me, however, a door had opened that afternoon and offered a brief but captivating glimpse into another world, one in which a medium to which no one paid much attention suddenly leaped

on to centre stage, commanding, compelling and entrancing This was the beginning of an expedition that has lasted

40 years so far, taking me to strange and

unexpected places and forcing me to rethink time and again everything I thought I knew about sound

It hasn’t ended yet but my role now is more that of a roving ambassador between the world of sound and the world

of everything else: I’m not one of the locals but I know many of them well and, having a foot in both camps, I serve as a bridge – a cultural and communications link And so it is in that spirit that I’ve undertaken the writing of this book: to make the introductions, to show visitors around, to start to explain the new things they find and generally to help build links with the new sound world that so many talented and creative people have created, yet which is so little known (and even less understood) by the majority If the people that you have met and the ideas that you have encountered in this book help to do this for you, it will have served its purpose These are important encounters for, as Simon Emmerson says ‘…sonic arts is part of the soundscape and the soundscape is…the world around us’

Afterword

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CONCLUSION

The following list represents just some of the many

published works to which I have referred in both my

research and my writing and hopefully provides a

useful basis for further study The list also includes

works not specifically cited but of potential interest.

Attali, J 1985.

Noise: The Political Economy of Music

Minneapolis, MA: University of Minnesota Press

Borwick, J (ed.) Various editions.

Recording Studio Practice

Oxford: Oxford University Press

Briscoe, D and Curtis-Bramwell, R 1983.

The BBC Radiophonic Workshop; The First 25 Years.

London: BBC

Chadabe, J 1997.

Electric Sound:

The Past and Promise of Electronic Music

New Jersey: Prentice Hall

Chion, M 1994.

Audio-Vision: Sound on Screen

New York: Columbia University Press

Cox, C and Warner, D (eds) 2004.

Audio Culture: Readings in Modern Music

New York: Continuum

Devereux, P 2001.

Stone Age Soundtracks:

The Acoustic Archaeology of Ancient Sites

London: Vega (Chrysalis)

Doyle, P 2005.

Echo and Reverb: Fabricating Space in Popular

Music Recording, 1900–1960

Middletown, CT: Wesleyan University Press

Goldberg, R.L 1979/1988/2001.

Performance Art

London: Thames & Hudson

Suggested Reading

Harrison, C and Wood, P (eds) 1992.

Art in Theory 1900–2000:

An Anthology of Changing Ideas

Oxford: Blackwell Holmes, T 1985/2002.

Electronic and Experimental Music:

Pioneers in Technology and Composition

New York: Routledge Hughes, R 1980/1991.

The Shock of the New

London: Thames & Hudson Kahn, D 1999.

Noise, Water, Meat: A History of Sound in the Arts.

Cambridge, Mass: MIT Press Mithen, S 2005.

The Singing Neanderthals: The Origins of Music, Language, Mind and Body.

London: Weidenfeld & Nicholson Nicholls, D (ed.) 2002.

The Cambridge Companion to John Cage

Cambridge: Cambridge University Press

de Oliveira, N., Oxley, N and Petry, M 2003.

Installation Art in the New Millennium

London: Thames & Hudson O’Sullivan, D and Igoe, T 2004.

Physical Computing: Sensing and Controlling the Physical World with Computers

Premier Press Paul, C 2003.

Digital Art.

London: Thames & Hudson Rush, M 1999/2005.

New Media in Art

London: Thames & Hudson

Schafer, R.M 1977.

The Tuning of the World

New York: Alfred Knopf Sonnenschein, D 2001.

Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema

Studio City CA: Michael Wiese Productions Tisdall, C and Bozzola, A 1997.

Futurism.

London: Thames & Hudson Toop, D 1995.

Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds.

London: Serpent’s Tail Toop, D 1999.

Exotica: Fabricated Soundscapes in a Real World

London: Serpent’s Tail Toop, D 2004.

Haunted Weather: Music, Silence and Memory

London: Serpent’s Tail Weis, E and Belton, J (eds) 1985.

Film Sound: Theory and Practice

New York: Columbia University Press Wilson, S 2003.

Information Arts: Intersections of Art, Science and Technology

Cambridge, Mass.: MIT Press Wishart, T 1996.

On Sonic Art

New York/London: Routledge Wishart, T 1994.

Audible Design.

York: Orpheus the Pantomime Ltd

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